SKU: HL.14023371
ISBN 9788759864982. International (more than one language).
Per Norgard's Sonata In One Movement from Opus 6, Composed in 1953 and revised in 1956.
SKU: LM.27706
ISBN 9790230977067.
Sonatine en Sol maj. - Pour Elise WoO 59 - Nel cor piu non mi sento WoO 70 - Lustig / Traurig WoO 54 - Sonate Au clair de lune (1er mouvement) - Concerto pour piano n. 3 et 5 - Concerto pour violon - Marche funebre (Symphonie n. 3) - Symphonie n. 5 (1er mouvement) - Symphonie n. 8 (2eme mouvement) - Hymne a la joie (Symphonie n. 9) - Die Ehre Gottes aus der Natur op.48 n. 4 - Sonate pour violon et piano Le Printemps (1er mouvement) - Tochter Zion, freue dich WoO 45 - Ich Liebe dich WoO 125 - O welche Lust, in freier Luft (Fidelio).
SKU: HL.1304710
ISBN 9798350108743. UPC: 196288173885.
Sonata in Seven Movements (2011) composed by Rune Glerup.
SKU: HL.50511530
ISBN 9790080139752. UPC: 073999645385. Bach (23 x 30,2 cm) inches. Hungarian, English, German. Johann Sebastian Bach; Bernhard Kistler-Liebendorfer.
Excellent transcriptions for piano of the movements Forlane, Bourree, Badinerie of J. S. Bach's orchestral suites in C major, BWV 1066, D major, BWV 1069 and B minor, BWV 1067 made by professor B. Kistler-Liebendorfer.
SKU: HL.14045539
ISBN 9788438704493. Spanish.
SKU: LM.28712
ISBN 9790230987127.
ALBENIZ : Prelude - BARTOK : Rhapsodie - Canotage - BEETHOVEN : Valse (Le desir) - BRITTEN : Nocturne - CHOPIN : Mazurka Op.67 n. 2 - DEBUSSY : Berceuse de l'elephant - GODARD : Gavotte - HAENDEL : Allemande - Fuguette - HAYDN : Sonate Hob.XVI.4 (1er mouvement) - IBERT : La promenade en traineau - Romance - LOEILLET : Courante - LULLY : Gigue - MARTINU : Colombine se souvient - MENDELSSOHN : Chanson du gondolier - Romance sans paroles Op.19 n. 2 - PIEPER : Valse - PROKOFIEFF : Attrape qui peut - RAMEAU : Gigue en rondeau - REGER : Presque trop hardi - ROSSI (PADRE M.A.) : Allegro - SCARLATTI : Capriccio - SCHUBERT : Danse allemande - Valse sentimentale - SCHUMANN : Valse - SEIBER : Ap agapak - STERNBERG : Kinderballet - STOCKHAUSEN : Klavierstuck - TCHAIKOVSKY : Chant d'automne.
SKU: AP.107080
UPC: 038081391496. English.
This Value Pack includes Rachmaninoff's Fantaisie-tableaux (Suite No. 1), Op. 5 and Suite No. 2, Op. 17.Fantaisie-tableaux (Suite No. 1), the large four-movement work, was written in 1893 and premiered by Rachmaninoff and Pavel Pabst in Moscow. It is dedicated to Peter Ilyich Tchaikovsky. A few lines of poetry by Romantic poets preface each movement. The theme of love in the first two movements is brought to life by the two pianos with colorful, passionate writing. The final two movements feature the sound of bells---the third movement inspired by cathedrals bells that Rachmaninoff heard as a youngster, and the fourth movement capturing the jubilant sound of Easter carillon.Suite No. 2, Op. 17 was written between 1900 and 1901, and was premiered in 1901 by Rachmaninoff and Alexander Siloti. This virtuosic suite is orchestral in nature and contains four movements. The first movement serves as a march-like introduction, and the second and fourth movements are dances---a waltz and tarantella. Between the two dances is a slow third movement. Two copies required for performance.
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Alfred Value Packs are a great way to introduce yourself to new music from many of the top names in educational piano. These specially designed sets allow teachers to review the music to determine the best use for their students. Limit one per customer.
SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: YM.GTP01096648
ISBN 9784636966480.
15 famous melorides by composers in first Viennese school arranged for children. The purpuse of this book is NOT to study piano technique, but to touch the sound of each era through the historical masterpieces. 15Shou Zhu Ming Zuo Pin Zhuan Wei Shao Er Bian Pei Ban Ben . Ben Shu De Mu De Bing Fei Gang Qin Ji Qiao Jiao Xue . Er Shi Yong Er Duo Qu Qin Shen Gan Shou Mei Ge Shi Qi Yin Le De Te Dian . Haydn: 1. Piano Sonata Op.30/1 - 1st movement; 2. Serenade from String Quartet Op.3/5 - 2nd movement; 3. Symphony Surprise - 2nd movement; 4. Symphony Clock - 2nd movement; 5. Trumpet Concerto No.1 - 3rd movement Mozart: 6. Turkish March; 7. Piano Concert KV 488 - 2nd movement; 8-9. Eine kleine Nachtmusic - 1st and 2nd movements; 10. Overture to The Magic Flute Beethoven: 11. Piano Sonata Moonlight Op.27/2 - 2nd movement; 12. Piano Sonata Appaccionata Op.57 - 1st movement; Symphony No.5 Op.67 - 1st movement; Symphony No.6 Op.68 - 1st movement; Symphony No.9 Op.125 - 4th movement.
SKU: AP.48700
ISBN 9781470643935. UPC: 038081559773. English.
The four movements of Great Smoky Mountains take the listener on a visit to scenic panoramas throughout the national park. The first movement, Great Smoky Mountain Splendor, captures the vibrant colors of the fall foliage with grand gestures that span the range of the keyboard. In Towering Mount Mitchell, the second movement, an expressive legato right-hand melody, with interesting harmonic support in the left hand, captures the summit with its forest and plants. The third movement, Ballad of Cades Cove, is in the key of A minor with melodic interest in both hands and depicts the historic buildings in this green valley. A left-hand ostinato figure in the fourth movement, The Potter's Wheel, represents the turning of the wheel when skilled local craftsmen create ceramic wares.
SKU: CF.PL1061
ISBN 9781491158555. UPC: 680160917167. 9 x 12 inches.
The three movements of Color Codas can be played individually or, preferably, as a set. aIn the Reda flirts with extremes in dynamics and register; aPurple Passiona wears its heart on its sleeve; aOut of the Blue,a well what can I say... (aOut of the Bluea is an arrangement of the fourth movement, aKeep It Short,a of my trio for horn, violin and piano, Etudes and Parodies.) The work is written for the wonderful piano duo, Quattro Mani.The three movements of Color Codas can be played individually or, preferably, as a set. In the Red flirts with extremes in dynamics and register; Purple Passion wears its heart on its sleeve; Out of the Blue, well what can I say... (Out of the Blue is an arrangement of the fourth movement, Keep It Short, of my trio for horn, violin and piano, Etudes and Parodies.) The work is written for the wonderful piano duo, Quattro Mani.The three movements of Color Codas can be played individually or, preferably, as a set. “In the Red†flirts with extremes in dynamics and register; “Purple Passion†wears its heart on its sleeve; “Out of the Blue,†well what can I say... (“Out of the Blue†is an arrangement of the fourth movement, “Keep It Short,†of my trio for horn, violin and piano, Etudes and Parodies.)The work is written for the wonderful piano duo, Quattro Mani.
SKU: AP.48672
ISBN 9781470643768. UPC: 038081559469. English.
This three-movement suite for one piano, four hands was inspired by one of the largest lakes in North America, bordering Vermont, New York, and Quebec. The first movement, Wind on the Water, is a flowing piece in 5/4 meter that uses broken chords, broken intervals, and an expansive melody to capture the play of waves on the lake. The second movement, Mystery of the Deep, uses two contrasting sections, one mysterious and one cheerfully swinging, to musically portray a folkloric monster who lurks in the depths of Lake Champlain but also delights locals with occasional sightings. The final movement, Tides of Revolution, draws upon the lake's history as a pivotal battleground during the American Revolutionary War. Driving rhythms, biting dissonances, changing meters, and dramatic exchanges between the players bring the suite to an exciting close. Optional parts for percussion and violin/flute are available for download for two of the movements.
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